ARRI Archive Workshop 2016

7th and 8th June 2016
ARRI Headquarters, Munich, Germany

Once again, leading figures and technology providers from the world of film archiving and restoration have come together for ARRI’s Archive Workshop at the company headquarters in Munich. In total, 165 restoration professionals travelled from 25 countries to attend the 2016 workshop. Nine exhibitors showcased the latest hardware and software for film restoration tasks in the ARRI studio, while 23 guest speakers gave 12 presentations in the ARRI cinema, sharing knowledge, discussing challenges and detailing case studies.

This year, a special focus was put on emerging topics such as colored film in all its variants, reaching back as far as 1900, as well as classic video technology; presentations covered the digitization of early color processes, bacterial artefacts on film, hand repairs to nitrate stock, restoration of video material, unusual film formats, magnetic tape degradation and color rendering via LED illumination.

Among the specific restoration projects cited by guest speakers were Veit Harlan’s Agfacolor films IMMENSEE and OPFERGANG (1942-1944), Georges Méliès’ JOAN OF ARC (1900), Werner Nekes’ ULIISSES (1980/1982), Heiner Carow’s DIE RUSSEN KOMMEN (1968/1987) and the classic soviet movie CHAPAEV (1934).

Technology showcased at the expo included current ARRISCAN archive options and a peek at future ARRI developments, Phoenix and Nucoda software from Digital Vision, FAST LTA’s Silent Brick Library Controller, Spider from Filmlager Unterföhring, DIAMANT restoration software from HS-ART, KEM Studiotechnik, Kodak’s P-200 film cleaning system, Sondor’s VERSA scanner and Blackmagic workflows from VISION2see.



Technologies at the workshop

Details ARRI Archive Workshop 2016

PROGRAM

Tuesday, 7th June 2016

09:00 – 09:30
Registration / Product Exhibition

09:30 – 09:45
Welcome

09:45 – 10:30
Introduction of Exhibitors

10:30 – 11:00
Coffee Break / Product Exhibition

11:00 – 11:45
Deutsches Filminstitut – Anke Mebold
Early and colorful: digitizing 'applied-color’ films and fragments from the Deutsches Filminstitut collection

11:45 – 12:30
University of Zurich – Prof. Dr. Barbara Flückiger
ARRI Media – Matteo Lepore
Friedrich-Wilhelm-Murnau-Stiftung – Anke Wilkening
Digital Agfacolor restoration of Veit Harlan’s Immensee and Opfergang (1942-1944)

12:30 – 13:30
Lunch Break / Product Exhibition

13:30 – 14:00
ARRI – Julius Muschaweck
Color Rendering using LED illumination – technology and limitations in film digitization

14:00 – 14:45
Éclair – Rodolphe Bertrand, Audrey Birrien
The restoration of Georges Méliès’ Joan of Arc (1900) in conjunction with the Cinémathèque Française

14:45 – 15:30
Coffee Break / Product Exhibition

15:30 – 16:15
Freelance sound engineer – Tom Geldhauser
Deutsche Kinemathek – Julia Wallmüller
Restoring Uliisses – a Homeric journey through film history

16:15 – 17:30
Product Exhibition



Wednesday, 8th June 2016

09:00 – 09:30
Doors Open / Product Exhibition

09:30 – 10:15
Hungarian Film Lab – Szabolcs Barta, Zsolt Ormándlaky, János Polyák, Balazs Toth
How deep is your love? Concepts and Dilemmas when restoring almost 100-year-old movies

10:15 – 10:45
Filmarchiv Austria – Fumiko Tsuneishi
Mass digitization and handmade restorations – private films from Lower Austria

10:45 – 11:15
Coffee Break / Product Exhibition

11:15 – 12:00
National Library of Norway – Tina Anckarman, Anne Tømmervåg
Preserving early colored nitrate at the National Library of Norway

12:00 – 12:45
Fixafilm – Lukasz Ceranka, Wojtek Janio
Where no algorithm has gone before – restoring video footage

12:45 – 13:45
Lunch Break / Product Exhibition

13:45 – 14:30
DEFA Stiftung – Ralf Dittrich
ARRI Media – Steffen Paul
Case study: restoration of Heiner Carow’s Die Russen kommen (GDR, 1968/1987)

14:30 – 15:15
Audio Video Orpheus Sofia Bulgaria, representing GART Studio Sankt Peterburg – Radoslav Markov, Evgenii Sarafannikov
Tips and tricks from the restoration of the classic soviet movie Chapaev (1934)

15:15 – 16:00
Coffee Break / Product Exhibition

16:00 – 16:30
Restaumedia – Andreas Weisser
Degradation of audio and video tapes: factors and challenges

CONTENT

Early and colorful: digitizing 'applied-color’ films and fragments from the Deutsches Filminstitut collection
Deutsches Filminstitut – Anke Mebold

The presentation will introduce a selection of unusual analog source materials and their specific physical characteristics, followed by a discussion of the successes and challenges when cleaning and scanning film, and manipulating film data, in pursuit of an authentic transposition to digital. Emphasis will be placed on scene-by-scene color grading with the aim of matching the colors in the analogue source, using an ARRI SkyPanel. Considerations for presentation will be discussed, including unorthodox solutions for early lithographic animations and the Sirius color system.


Digital Agfacolor restoration of Veit Harlan`s Immensee and Opfergang (1942-1944)
University of Zurich – Prof. Dr. Barbara Flückiger
ARRI Media – Matteo Lepore
Friedrich-Wilhelm-Murnau-Stiftung – Anke Wilkening


Agfacolor was developed in the 1930s by I.G. Farbenindustrie AG as the first chromogenic negative-positive process. The colors are unstable. Veit Harlan shot the two melodramas as a double production between 1942 and 1943. A camera original and a nitrate print of Opfergang have survived, but of Immensee only heavily faded prints remain. Since the films were shot at the same outdoor locations, Opfergang provided a map for all of the color restoration. This project addresses issues such as scanning from camera originals and dealing with artefacts caused by bacteria.


Color Rendering using LED illumination - technology and limitations in film digitization
ARRI – Julius Muschaweck

Since the early days of color, filmmakers have striven for good colors on screen. In the past, makeup and costume choices were dictated by the difference in appearance of colors on set and on screen. Today, lighting white points can easily and quickly be adjusted with tunable LED fixtures, and grading corrects everything else. But what do we have to do, and pay attention to, in order to create “good” LED light in the first place? How can we say, quantitatively, what is good and bad light? And how do these insights relate to film scanning?


The restoration of Georges Méliès’ Joan of Arc (1900) in conjunction with the Cinémathèque Française
Éclair – Rodolphe Bertrand, Audrey Birrien

We will present the various stages of Eclair’s restoration of Georges Méliès’ Joan of Arc, which has allowed this 1900 movie to be preserved and seen. From hand repairs of the nitrate reels to grading, the presentation will cover issues relating to the restoration of materials from the earliest years of cinema.


Restoring Uliisses – a Homeric journey through film history
Freelance sound engineer Tom Geldhauser
Deutsche Kinemathek – Julia Wallmüller


In Uliisses (1980/1982), experimental filmmaker Werner Nekes undertook a striking journey through the history of film technique. Digitizing the film involved image restoration of the original negative and painstaking color grading, as well as sound restoration by reconstructing the lost original mix and respecting contemporary practices in sound mixing and theater replay. The original negative of Uliisses is a mesmerizing compendium of optical experiments, and a fascinating object in itself.


How deep is your love? Concepts and Dilemmas when restoring almost 100-year-old movies
Hungarian Film Lab – Szabolcs Barta, Zsolt Ormándlaky, János Polyák, Balazs Toth

Hungarian Film Lab has provided high-end postproduction services to feature films, archives and television series for over 60 years, becoming a respected archival film restoration facility. Our restoration projects have involved footage close to 100 years old, which occasionally presents new and exciting challenges. We would like to share the ins and outs of our archival work with other workshop participants.


Mass digitization and handmade restorations – private films from Lower Austria
Filmarchiv Austria – Fumiko Tsuneishi

Project “Niederösterreich Privat” (Private Films from Lower Austria) was launched in 2013 and responded to by 2,700 participants, who brought us more than 70,000 films to be archived, digitized and utilized in diverse forms. A unique collection of early Austrian amateur film footage was unearthed in a 15 mm format, enriching the project with a strong contrast between mass digitization outputting 30 footage hours per day, and extremely labor-intensive restoration work that begins with manual scanning on a flatbed scanner.


Preserving early colored nitrate at the National Library of Norway
National Library of Norway – Tina Anckarman, Anne Tømmervåg

This presentation will focus on a number of hand-colored and stencil-colored nitrate prints that are preserved at the National Library of Norway. Due to their age, condition and uniqueness, these prints are given a high priority for color preservation, and over the last couple of years our in-house digital laboratory has preserved a significant proportion of material in this category. The presentation will show a selection of these rare titles and talk about preservation considerations.


Where no algorithm has gone before – restoring video footage
Fixafilm – Lukasz Ceranka, Wojtek Janio

With scanners, algorithms and software getting better every year, restoration tasks that took weeks can now be almost fully automated and completed in days. This is true for film restoration, but what about video? Traditionally this medium has not been associated with historic material deserving of preservation, but what about Doctor Who, The Twilight Zone, The Celebration, 28 Days Later, TV news footage and coverage of the Oscars, BAFTA and other ceremonies? Our study will highlight some of the problems of video restoration and propose a strategy to deal with them.


Case study: restoration of Heiner Carow’s Die Russen kommen (GDR, 1968/1987)
DEFA Stiftung – Ralf Dittrich
ARRI Media – Steffen Paul


Heiner Carow’s semi-autobiographical film Die Russen kommen (The Russians are Coming), set in the waning days of World War II, was banned in 1968 before it was completed. In 1987 it was reconstructed from a severely damaged work print, as only small sections of the negative had been preserved. Digital technology has now enabled the DEFA Foundation, in cooperation with the German Federal Film Archive, to produce a new restoration by combining footage from disparate source elements that varied in optical quality. Even after restoration, the ban leaves visible signs on the material.


Tips and tricks from the restoration of the classic soviet movie Chapaev (1934)
Audio Video Orpheus Sofia Bulgaria representing GART Studio Sankt Peterburg – Radoslav Markov, Evgenii Sarafannikov

To celebrate the centenary of the 1917 October Revolution, Lenfilm decided to restore the 1934 movie Chapaev. The film was shot on nitrate stock and had been physically restored several times in the past, so now displayed every problem that could be expected. Irregular shrinkage, flickering not connected with exposure and different measurements for every frame are deficiencies that cannot be resolved with the usual tools, so new workflows and methods had to be deployed, such as manually synthesized artificial key frames. Using pictures, graphics and DCP examples, the presentation shows the challenges of restoring this cult soviet movie.


Degradation of audio and video tapes: factors and challenges
Restaumedia – Andreas Weisser

Audio and video tapes are not as stable as film or paper. Properly cared for, film and non-acidic paper can last for centuries, whereas magnetic tape will only last a few decades. Information recorded on tape can be lost through chemical or physical degradation; all three components of a tape - magnetic particle, binder, and backing - are potential sources of failure. However, access to information on a tape can also be lost because the format has become obsolete. This presentation concentrates on the factors of decay and the challenges of preservation.

BIOGRAPHIES

Tina Anckarman is a film archivist at the National Library of Norway, working mainly on the archiving and preservation of silent movies using both analog and digital methods. Her role is to manage projects, working closely with technicians and laboratory assistants, as well as to disseminate the collections via presentations at festivals and seminars.

Szabolcs Barta started his career as a photographer 27 years ago, soon focusing on photo finishing and pursuing assignments all over the world. With over 14 years’ experience as a colorist, color timer and postproduction specialist, he has worked as a leading colorist on more than 100 international and local feature productions, and undertaken several restoration projects with Hungarian Film Lab.

Rodolphe Bertrand is a Louis Lumière National Film School graduate. After directing several short movies he worked in animated cartoons and later joined Éclair laboratories. He has been in charge of its digital restoration service since 2015.

Audrey Birrien is a postproduction graduate who joined Éclair in 2001 as a project manager. She helped create the film heritage department and since 2009 has overseen, with her team, more than 700 film restorations for archives and private clients.

Lukasz Ceranka started his career as an online artist, then worked his way from DI specialist to DI supervisor at The Chimney Pot Warsaw before becoming a DI and restoration supervisor at Yakumama Film. In 2012 he co-founded Fixafilm, where he has supervised the digital restoration of over 25 feature films, as well as the digital remastering of six features from the 1920s -1930s and dozens of documentaries.

Ralf Dittrich studied film studies in both Tel Aviv and Berlin, where he now lives. He organizes and curates programs focusing on film history, in cooperation with various partners in Germany and abroad. He was a member of the team of Berlinale's Retrospective Section from 2004 to 2012. For the DEFA Foundation, he oversees selected digitization and restoration projects.

Prof. Dr. Barbara Flueckiger has been a professor of film studies at the University of Zurich since 2007. She has developed and led many research projects funded by the Swiss National Science Foundation and the Swiss Commission for Technology and Innovation. Her recent research projects investigate the digitization and restoration of archival film in collaboration with archives and the film industry. In 2015 she was awarded the Advanced Grant by the European Research Council.

Thomas (Tom) Geldhauser is a freelance sound engineer with 20 years’ research in special solutions for film sound restoration. His work can be heard in films including Alien I / II / III, The Longest Day, All About Eve, The Fly (1958), Breaking The Waves, Malcom X and many more.

Wojtek Janio graduated from the Polish Film School in Lodz and started his career as a production manager and restoration supervisor with Polish National Television. After a stint at Yakumama Film, where he established and headed a restoration department, in 2012 he co-founded Fixafilm, where he has supervised the digital restoration of over 25 feature films, as well as the digital remastering of six features from the 1920s -1930s and dozens of documentaries.

Matteo Lepore is a film archivist and preservationist. He studied film preservation in Italy and the Netherlands, and worked as archivist and curator at the Museo del Cinema di Torino and the Austrian Film Museum. Since April 2014 he has supervised film restorations at ARRI Media in Munich.

Radoslav Markov has a master’s degree in economics, sound engineering and film directing. He is actively working on high-end technologies in cinema and is known as an early adopter of all new technologies in Bulgaria. He is currently technical head of Audio Video Orpheus and a member of most professional organizations for digital cinema across the world. Website: www.radoslav.net

Anke Mebold works as film archivist, restorer and project manager at Deutsches Filminstitut (DIF) in Frankfurt, Germany. Her main area of responsibility is film digitization and restoration. She holds a certificate in film preservation from the L. Jeffrey Selznick School at George Eastman House in Rochester, NY and a bachelor's degree in media arts from the University of Arizona.

Julius Muschaweck, a physicist from Munich, has been involved with optics for illumination for 20 years, mainly working with LEDs. He founded and headed an optical design service company before joining OSRAM in 2006. There, he served as global coordinator of the optical designers. Since 2013 he has been Principal Optical Scientist at ARRI.

Zsolt Ormándlaky started his career as an electrical engineer and later turned to computer graphics. After working as a compositor and 3D animator at various studios, he became a technical director and team leader, and now has over 24 years’ experience in those roles. He has also taught at university for 15 years and worked as a studio manager on dozens of commercials, cartoons, movies and restorations.

Steffen Paul is a dedicated DI colorist for ARRI Media in Berlin, where he develops workflows and look pipelines for projects. He previously worked as a video engineer in television and holds a diploma degree from the University of Applied Sciences, Mittweida. He wrote his final thesis in affiliation with the Norwegian Color Research Laboratory at Gjøvik University College.

János Polyák graduated as an electrical engineer and joined Hungarian Film Lab more than 15 years ago. His experience spans the whole postproduction workflow, including traditional film processing. Currently he supervises digital postproduction processes in the lab, giving recommendations on hardware and software purchases, working out technical rules to support quality assurance and training colleagues.

Evgenii Sarafannikov is an engineer and currently serves as technical head of GART Studio, with more than 10 years’ experience and expertise of restoring films.

Anne Tømmervåg has for the last two years been part of the digital film team at the National Library of Norway, working mainly with scanning and preparing digital files for preservation and screening. In digital postproduction there are numerous technical considerations, due to the many different film types. To tackle the various challenges, she uses diverse software and digital tools.

Balazs Toth is an animation film director, VFX artist and digital film restorer. After graduating as a designer in visual communication arts from Moholy-Nagy University of Art and Design in Budapest, he spent 10 years as a professional animator and then focused on live action films, special effects and digital film restoration. He has worked as lead digital film restorer on more than 30 film restoration projects.

Fumiko Tsuneishi studied law and cultural studies at the University of Tokyo. In 1999 she began working as an archivist at the National Film Center in Tokyo and as a lecturer at various universities. After managing several pioneering digital restoration projects in Japan, she joined Filmarchiv Austria in 2006 and since 2014 has been responsible for digitization and restoration projects.

Julia Wallmüller graduated in conservation and restoration of audiovisual heritage in Berlin. Since 2006 she has worked independently on practical, theoretical and educational digital restoration projects, exploring ethical issues of film restoration. In 2010 she joined the film archive of Deutsche Kinemathek and since 2014 has been responsible for digitizations within the ‘Digitization of National Film Heritage’ project.

Andreas Weisser works in Munich as consultant for digitalization projects, conservator for time-based media and preservation manager for audiovisual collections, with a focus on analog and digital long-term preservation. In 2003 he founded Restaumedia and since 2015 has worked part time at the Pinakothek der Moderne and Museum Brandhorst/Munich.

Anke Wilkening is a film restorer at the Friedrich-Wilhelm-Murnau-Stiftung in Wiesbaden and has supervised restorations such as Metropolis and Das Cabinet des Dr. Caligari. Her published work concentrates on German cinema of the 1920s, film restoration and DVD editions. She is currently working on a PhD at the University of Utrecht in the Netherlands, looking at postproduction practices in silent film from 1920 to1929.

Details ARRI Archive Workshop 2014

PROGRAM

Tuesday, 3rd June 2014

09:30
Registration

10:30 – 10:45
Welcome

10:45 – 11:45
Introduction of Exhibitors

11:45 – 13:45
Product Window / Food

13:45 – 14:45
HTW Berlin – Andrea Krämer
Reproducing the original colour appearance of an early colour film process –
Digital restoration of 1930s Gasparcolor prints

14:45 – 15:30
DI Factory – Łukasz Rutkowski, Michał Wielgosz
Digital Restoration in old and new feature films

15:30 – 16:30
Product Window / Food

16:30 – 17:15
University Zurich – Barbara Flückiger, David Pfluger, Claudy Op den Kamp
Bridging the Gap Between Film History and Technology:
The Swiss Research Project DIASTOR


17:15 – 18:00
ARRI Film & TV Services Berlin – Wolf Bosse
Wim Wenders – Restoration of a lifetime work with the artists attending


Wednesday, 4th June 2014


09:00 – 09:15
Doors Open

09:15 – 10:00
Marquise Technologies – Dan Tatut,
Highlands Technologies Solutions – François Helt

Interoperable Master Format – An overview of the current situation

10:00 – 10:30
Fixafilm – Wojtek Janio, Lukasz Ceranka, Gosia Grzyb
Restoring Andrzej’s Wajda epic masterpiece The Ashes (Popioly)

10:30 – 11:15
Friedrich-Wilhelm Murnau Stiftung – Anke Wilkening
L`Immagine Ritrovata – Davide Pozzi
The Restoration of Das Cabinet des Dr. Caligari

11:15 – 13:15
Product Window / Food

13:15 – 13:45
Front Porch – Felix Denner
Strategies and Best Practices for Migrating and Preserving Legacy Archives

13:45 – 14:15
Uni Basel – Giorgio Trumpy
Optical Detection of Dust and Scratches on Photographic Film

14:15 – 14:45
BFI – Ulrich Ruedel, Ben Thompson
Desaturation and Digital: The Colours of Toning

14:45 – 16:00
Product Window / Food – Exhibition Ends

CONTENT

Reproducing the original colour appearance of an early colour film process –
Digital restoration of 1930s Gasparcolor prints

HTW Berlin – Andrea Krämer

The appearance and aesthetics of early colour film often cannot be reproduced true to the original with today's preservation and playback methods. Since the colour appearance determines the process immanent impression of each film, a change of this appearance results in a loss of authenticity. The aim of this work was to reproduce the colour appearance of an early colour film process, without changing the impression of the film and thus lose a part of the authenticity. The process selected is a silver dye-bleach method called "Gasparcolor".

Digital Restoration in old and new feature films

DI Factory – Łukasz Rutkowski, Michał Wielgosz

Digital restored Generation (1954) and new produced Walesa, man of hope (2013), are the Andrzej Wajda's masterpieces, where digital restoration techniques were used. Original Generation negative – Nitro was copied into safety film and destroyed. There was similar situation with sound negative, which survived in very poor condition.

Special digital restoration techniques are used not only in old films. In Walesa, man of hope 20 minutes of archival materials were mixed with new filmed scenes. Besiedes of difficult restoration process which included many different source materials (Betacam SP, Digital Betacam, 8 mm, 16 mm and 35 mm raw files, new 35 mm scans) in each scenes in whole film we had to unify level of details, colour correction and grain.

Bridging the Gap Between Film History and Technology:
The Swiss Research Project DIASTOR

University Zurich – Barbara Flückiger, David Pfluger, Claudy Op den Kamp
The presentation shows the halfway point of the two-year research project DIASTOR, the Swiss research project for the digitization and restoration of archival film (http://www. diastor.ch). It will include a general overview of the project and provide insights into the current state of some of the case studies such as comparative scanner tests performed on a wide spectrum of historical film material and the restoration of the Dufaycolor film Parures (1939) in collaboration with project partner Cinémathèque suisse.

Wim Wenders – Restoration of a lifetime work with the artists attending

ARRI Film & TV Services Berlin – Wolf Bosse

In early 2014 the Wim Wenders Foundation picked up the preservation of the entire Wim Wenders movies. Looking at at least 53 titles this process will take several years; including 4K restoration, partly remastering and digital longterm storage. In 2015 the foundation aims at having completed up to one third of the known Wenders projects.

ARRI Film & TV is partner to the foundation in this huge attempt taking advantage of years of close teamworking with the director on his later movies. At the ARRI facilities in both Munich and Berlin the first steps are being made, examing and cleaning the old film stock, testscanning with special archive lenses and defining custom made workflows matching the complex and varying aproaches in film craft Wenders chose through the years.

Wolf Bosse gives us an inside overshoulder of this early stage of the colaboration, showing first tests and attemps. A glimpse on what will be a mountain of work and also a thrilling process of decisions between keeping

Interoperable Master Format – An overview of the current situation

Marquise Technologies – Dan Tatut,
Highlands Technologies Solutions – François Helt

Four years after the initial specification released by the Entertainment Technology Center, the Interoperable Master Format has gone through various revisions and processes to gain maturity and expand its adoption by the industry. In 2014, IMF, a SMPTE standard by now, has been augmented with various features including an extension proposed by the French Commission Supérieure Technique for a more efficient handling of film scanned material with a mid/long term archiving perspective.

Restoring Andrzej’s Wajda epic masterpiece The Ashes (Popioly)

Fixafilm – Wajtek Janio, Lukasz Ceranka, Gosia Grzyb
The original camera negative of Andrzej's Wajda 4-hour long masterpiece The Ashes (1965) was brutally censored by the communist regime for screening at Cannes Festival in 1966. The movie was re-cut from the original run-time of from 235 minutes to only 169 minutes. The original director's cut was found on an interpositive print which was in a pretty bad shape in comparison to the OCN. To retain as much quality and picture definition as possible, the Fixafilm team decided to mix and match both sources and saved 150 minutes of the original camera negative footage, using only 85 minutes from the inter-positive print. We'll show you how we managed to match the grading, film grain and how meeting the deadline was possible only thanks to ARRIscan's Wet Gate.

The Restoration of Das Cabinet des Dr. Caligari

Friedrich-Wilhelm Murnau Stiftung – Anke Wilkening

L`Immagine Ritrovata – Davide Pozzi
The recent restoration of Das Cabinet des Dr. Caligari (1920, d: Robert Wiene) by the Friedrich-Wilhelm-Murnau-Stiftung in Wiesbaden considered for the first time the film`s original camera negative and assembled all existing distribution prints. The presentation will discuss in how far the camera negative and the digital restoration workflow allowed an improvement of the film compared to the previous restoration approaches.

Strategies and Best Practices for Migrating and Preserving Legacy Archives
Front Porch – Felix Denner

Almost all media operations, from archives to broadcast, are making – or at least thinking about making – the transition from videotape and film to digital. Archivists face the immense challenge of converting their vast videotape and film archives into digital formats and then storing the resulting digital files. While there are tremendous advantages to having a digital storage, creating one which addresses the challenges of preservation and protection in the long term is another matter.

This presentation will discuss how the archivist can best prepare for the migration process and the implementation of a long-term preservation solution. We will present options that an archivist must consider when formulating a long term preservation project. Further we will present how any videotape or film library can be successfully migrated into a modern digital archive utilizing an open content storage management system, on-site or in the cloud.

Optical Detection of Dust and Scratches on Photographic Film
Uni Basel – Giorgio Trumpy
Different methods have been adopted up to now for the automatic detection of dust & scratches; each method has pros and cons, and a limited field of effectiveness. The use of infrared radiation and the spatio-temporal image analysis are among the most effective methods, although they have their limits. We present a set of methods for optical dust & scratches detection applicable on any type of transparent photographic material (silver-based as well as dye-based material, still images as well as moving images).

Desaturation and Digital: The Colours of Toning
BFI – Ulrich Ruedel, Ben Thompson
Two recent case studies demonstrate how digital restoration can accommodate for the peculiar colour chemistries of silent era metal and dye toning. In the restoration of The Epic of Everest (UK 1924), select blue toned sequences provided a particular digital restoration challenge in their uneven fading, while dye toning in titles from the BFI's Joye Collection can have deceptively vibrant appearance. The more accurate restoration of their rather subtle colours as will be demonstrated in HD extracts of Duc de Reichstadt (Pathé, 1910) and La Vestale (A. Capellani, Pathé, 1908).

BIOGRAPHIES

Wolf Bosse graduated in fine arts in Berlin. Early professional years lead him to creative direction in Germany and USA/New York.He became founding member of the Berlin facility of das werk in 2001, leading into management of the later PICTORION das werk group. 2011 he joined ARRI as Chief Creative Officer, taking responsibility for both commercial and feature products. Lately he has been heavily involved in Building up the restoration department of ARRI in Berlin for the new Wenders foundation. Wolf Bosse received the Gold- Award oft he NY Filmfestival for "visual effects", the red Dot Design Award and the Megaphone of the German "Jahrbuch der Werbung".

Felix Denner based in Berlin, has been Regional Account Manager for Front Porch Digital since June 2012 with full market responsibility for DACH and CEE territories. Denner is a Senior Sales Executive with more than 12 years of international experience in consultative enterprise sales and business development, including key account and channel management. He is recognized for his particular expertise in solution-selling to the broadcast and broadcast supplier industries. Prior to joining Front Porch, Denner held executive sales position at a variety of international media, broadcast and technology companies such as Harris Corp, Weather Central, Ondas Media, CNBC and CNN / Turner Broadcasting.

Barbara Flueckiger
is a professor for film studies at the University of Zurich since 2007. She has been working internationally as a film professional before her studies in film theory and history in Zurich and Berlin. Her research focuses on the interaction between technology and aesthetics, especially in the digital domain. Most recently she has created a comprehensive online database for historical film colors. Her current research project DIASTOR is funded by the Swiss Commission for Technology and innovation and focuses on the digitization of archival film in collaboration with Disney Research Zurich, the Swiss Federal Institute of Technology in Zurich and several partners from the industry. Website: http://www.zauberklang.ch

Gosia Grzyb
started her career as a graphic designer and photo retoucher. In 2011 she started working as digital colourist and joined Fixafilm a year later. Since that she graded 6 digitally restored features, 7 digitally remastered features (5 from the 20's/30's) and over 600 minutes of remastered documentaries. All of which made her the most productive restoration colorists in Poland. She worked with many famous polish DOPs, including Jerzy Zielinski (ASC, PSC), Grzegorz Kedzierski (PSC), Andrzej Kostenko and Jerzy Lukaszewicz.

François Helt
has a background in Mathematics and Film making and 35 years' experience in professional video and film. He is designing imag e processing software since 1981 and is author of aut omatic digital film restoration software. Currently he helds the position of Chief Scientific Offic er at Highlands Technologies Solutions.

Wojtek Janio
graduated from the world-famous Polish Film School in Lodz, after which he started his career as a Production Manager and Restoration Supervisor at TVP (Polish National Television). Then he worked as a DI Supervisor in Yakumama Film where he established a restoration department and became its head. In early 2012 he co-founded Fixafilm. Wojtek has supervised digital restoration of 18 feature films, as well as remastering of 15 features (5 of which from 20's and 30's) and remastering of over 600 minutes of documentaries.

Claudy Op den Kamp
is a senior researcher in the DIASTOR project. She brings to the collaborative project her international network of contacts pertaining to and her background in film archiving and restoration laboratories. Dr. David Pfluger is a senior researcher in the DIASTOR project. He brings to the team his background in physical chemistry, cinema postproduction and a particular knowledge of the Swiss archiving landscape. Jointly, they are responsible for the case studies within the research project.

Andrea Krämer just finished her master´s thesis at the HTW Berlin about the colour reconstruction of Gasparcolor films. In cooperation with the Deutsche Kinemathek and ARRI - Film and TV Services, Munich she restored Gasparcolor advertising films from the 1930s, focusing especially on reproducing the original colour aesthetics.

Davide Pozzi
has been working at Cineteca di Bologna since 2001, and in 2006 he became the director of L'Immagine Ritrovata film restoration laboratory. Under his management, the laboratory has established itself as one of the most highly specialized facilities in the field of film restoration worldwide. Its clientele now spans from USA, to Europe and Asia, and most films restored by the laboratory are premiered in major film festivals all around the world.

Ulrich Ruedel
, Conservation Technology Manager at BFI, holds a doctorate in Analytical Chemistry. A graduate of the L. Jeffrey Selznick School, he has researched film color and chemistry at Eastman House and Haghefilm. At BFI, he plays a key role in maintaining technical capabilities in all fields of moving image conservation and restoration, and in coordinating related training and outreach.

Łukasz Rutkowski is Co-owner and CEO at the reKINO - film restoration company in Poland. Started a restoration department in international post production company in Poland and became a restoration supervisor of whole group. He supervised restoration of more than 40 feature films and tens of short films. Author of restoration articles and academic thesis about film restoration management. Consultant to film restoration and enhancement.

Dan Tatut
benefits from over 15 years of expertise in computer science, computer graphics and colorimetry. He has founded Chrome Imaging in 1998 (products for the motion picture industry) and in 2010 he joined, as VP Business Strategy & Development, Marquise Technologies, a manufacturer and developer of high-end image processing solutions for archives and post-production companies, in both broadcast & digital cinema fields.

Giorgio Trumpy
studied Science for Cultural Heritage at the University of Florence. In 2006 he began working on various projects related to Conservation Science, Color Science and Digital Imaging, within the framework of the digitization of Florentine museum heritage. From 2010 he works at the Digital Humanities Lab in Basel on digital restoration of photographs and motion-picture films.

Michał Wielgosz
is Co-owner and restoration CTO at the reKINO - film restoration company in Poland. Fan of image processing and cinema, software developer. Author of academic works's about image processing. Started in a restoration department in international post production company in Poland and became a restoration supervisor. More than 40 feature films and tens of short films restorated and supervised.

Anke Wilkening is film restorer at the Friedrich- Wilhelm-Murnau-Stiftung in Wiesbaden. She supervised restorations like METROPOLIS and DIE NIBELUNGEN (both 2010) or DAS CABINET DES DR. CALIGARI (2014). Her publication work concentrates on German cinema of the 1920s, film restoration and DVD editions. She is currently working on a PhD project on postproduction practices in silent film from 1920 to 1929 at the University of Utrecht in the Netherlands.